Sara Chraibi FW23: Buraq’s Monumental Ascension to the Heavens

L’envol d’Al buraq was the title of the esteemed autumnal collection by Sara Chraibi. It was a tribute to Isra, the Night Journey, a miraculous event documented in the Quran about the time Prophet Muhammad ascended to the seven heavens. Buraq was a fantastical winged creature sometimes illustrated with a woman’s face, a horse’s body, and a peacock’s tail. The Prophet mounted this glorious creation to greet Allah on his throne.

The North African designer harvested Morocco’s trove of artisanal secrets borne of aeons of Phoenician, Roman and Arab settlements. Moroccans today have been bestowed with a level of artistry and craftsmanship that is priceless and irreplicable. She was well aware of this magic stored in her arsenal and shone the famed Parisian light upon it for all the world to see.

A Divine Palate

Sara followed a strict colour palette in this collection, supported by a deliberately limited selection of textiles. The palette amplified the undertone of discipline and devotion heeded by Chraibi to produce a faultless depiction of this monumental instance in Islam. She borrowed fragments of the sun and stitched them into the finery with sabra. Pleats, jewels and shapes manoeuvred light with divine will and inaugurated the runway with dimensions unknown to man.

In contrast to the extravagance, faces were clear with minimal make-up, and eyebrows stood to attention. A minute addition of a gold sequin beneath the eyes centred your gaze subconsciously. Sunlight peeked through the leaves at Lycée Victor Duruy as the models meandered along the gravel like snake charmers. Enthralled by such artistry, each model was a personal shepherd escorting you through divinity, like Buraq. A prismatic headpiece descended past the model’s shoulders. It was black and astride strings of pearls and gold stitching stylised as hair. Again, channelling North African tradition where coiffures were ornamented by beads, tassels, and amulets.

The shape of the headpiece reminded me of a cobra’s hood, as did the reflective chevron neck rings, which resembled reptilian scales. It compelled me into acquiescence just peering upon it.

Sara Chraibi: Moroccan Geometry

Sara Chraibi stunned me with her ingenious skill of geometry and balance, all thanks to her architectural past, I bet. She wielded shades and shapes into symmetry whilst toying with geometric misalignment through contrasting tones of grey. Large opalescent jewels were pinned diagonally down the bodice, complementing the mosaic garment. This finesse of mosaics is truly exclusive to Morocco. Finally, it fell into a sandy skirt that trailed behind the model’s steps.

Similarly, an imperial blue piece replicated the same level of mastery. The sculpture delicately framed the model’s figure as rows of gold triangles stretched across the corset. These triangles grew smaller and smaller towards the waist, creating an optical illusion.

Granted, I could not help but be reminded of Schiaparelli’s summer collection from earlier in the year. There were parallels in terms of colour schemes and silhouettes. Some may feel it is too similar, exact even, but I remain in awe. I’m astounded that despite such conspicuous similarities, I still find this collection to be so distinct.

One of many showstoppers was the round-panelled gold corset Sara Chraibi stole the sun to forge. Trompe l’œil. She even captured the beams of light radiating from the star and pinned them where the sacral chakra sits. The pleated skirt was illuminated by the sunrays and blessed the audience every time it billowed.

Chraibi’s Muse

The Rabat-born designer imagined a contemporary Buraq. Islam’s story of the mystical steed guided the design of each garment and model. Godliness was implemented through royal shades, monastic tunics and winged capelets. This supremely powerful showcase of artistry warrants a sincere proclamation of pride for the Moroccan designer.